


They Make A Desert - Notes & Bibliography

by AuKestrel



Series: They Make A Desert [2]
Category: The Eagle | The Eagle of the Ninth (2011)
Language: English
Status: Completed
Published: 2019-03-01
Updated: 2019-03-21
Packaged: 2019-11-06 09:13:29
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 3
Words: 4,591
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/17936999
Author URL: https://archiveofourown.org/users/AuKestrel/pseuds/AuKestrel
Summary: A partial bibliography; sources will be added as I remember them and as research continues.





	1. Story Notes

# They Make a Desert, and Call It Peace

###  _solitudinem faciunt pacem appellant_

## Story Notes

 ** _Note 1._** This story was inspired by the heartbreak on Esca’s face as he leaves the message with the Seal Boy for the Seal Prince. “You tell him when he wakes that Esca's very sorry but he has to go now. Not until he wakes, yes?”

 ** _Note 2._** This story takes most of its canon from the film _The Eagle_. However, Rosemary Sutcliff’s _The Eagle of the Ninth_ had a more realistic timeline; in her book, the story takes place about ten years after the great battle in/after which the VIIII Legion disappeared. Of course, in the book, both Esca and Marcus were much the same age (18 to 20) and it was more of an adventure tale (for instance, Britain was Marcus’ first posting as a newly minted soldier).

Kevin Macdonald, the director, perhaps recognizing the time and place in which _The Eagle of the Ninth_ was written, and to some extent understanding that it was an unabashedly positive take on colonialism and imperial Rome (as with many of her nationality, generation, and class, it never seemed to occur to Sutcliff either that the subaltern would want to speak, or would have anything to say), gives some thought to the questions of colonialism, imperialism, occupation, and other moral ambiguities that the pro-Roman Sutcliff more or less disregarded. On the other hand, Sutcliff does a great job of humanizing (book) Marcus and making him feel more likable and less arrogant and imperialistic. The friendship between Marcus and Esca, in the book, feels much more real than the friendship that, in the film, is mostly told, not shown.

In the film, Esca seems driven more by his own sense of honour to keep his word to Marcus than friendship, and even after he shares his tragic story with Marcus of what Rome “also did” to his family, Marcus seems to have little or no recognition that Rome has its faults. When Guern echoes Esca's message, telling Marcus that the VIIIIth deserved what it got, and that they had no reason to be there, since there was nothing to take, Marcus ignores him too. I suppose, at least, Marcus ignores, equally, both the British slave and the Roman deserter.

 ** _Note 3._** Which brings me to my third note. Since I had problems with the pro-imperialistic, pro-colonialist viewpoint and the stagnant character arc of film Marcus, it follows I had problems with the ending of the movie.

In the book, as they escape south, Marcus and Esca hide out, trick the Seal Warriors who are pursuing them, and make their way to the wall. Apparently this is not nearly as exciting as Marcus getting to wreak revenge on the Seal People for the loss of the VIIIIth, or for those Roman soldiers who deserted. But it doesn't ring true. (Sidebar: Marcus should have died of exposure or infection a dozen times over.) Esca would not stand by to watch the Seal Prince murder his son in cold blood (about which more later). When Marcus burns his father's little carved eagle on Guern's pyre, are we supposed to believe in that moment the character arc that has been standing stolidly in one place throughout the entire film has suddenly, miraculously, shown both movement and growth? Well, I didn't. (And – after 20 years – we’re supposed to believe they still had armor and swords _and_ could fight in a disciplined enough fashion to overcome a strong band of warriors who, we already know, defeated the Romans once, and were the fiercest warriors in the battle, according to Guern?)

Considered in that light, 1) why would Esca recruit the Romans to fight against his own people when he was the first to admit he was an enemy of Rome and believed in nothing Rome stood for?; and 2) why would Esca remain with Marcus? As I said above, in the book, Esca's choice to remain with Marcus makes a lot more sense because it's grounded in genuine friendship and liking. In the book, a much more self-aware Marcus frees Esca before _asking_ him to go on the journey to the north to discover the lost Eagle; and he asks Esca to accompany him _as a friend_. In the film, Esca has to explicitly point out that they are pretty much both going to die for Marcus to realize that Esca being enslaved is just not working for either of them.

In the film, Esca’s choice to remain with Marcus is a great feel-good ending that's super cute, but it doesn't ring true. Esca has to betray and kill his own people to find acceptance in Marcus’ eyes. Kevin Macdonald, who up to this point has given Esca some agency and, to an extent, his own voice (given that the story is told from Marcus' POV) unfortunately, falls into the imperialistic, colonialist, hail-fellows-well-met trap with this ending. What is the rationale for this? That the Romans are civilized, the Seal People are not? In that case, Esca’s choice makes sense from a First World/Western perspective. But if looked at through a post-colonial lens, through an historical lens, or even through an anthropological lens (call me a relativist, but really), the Seal People are not “less civilized” than Rome just because they don't have iron weapons, indoor plumbing (although, funny story: they actually did) or a money economy.

This is not to say there isn’t much to love about this film. Kevin Macdonald did a lot of things right; for instance, his choices regarding the Seal People are among the best and most accurate depiction of “Picts” in pre-Roman Britain, starting with the fact that he doesn’t call them by that anachronistic term. (Don't get me started on woad. Just…don't. There’s a footnote.) There was some agriculture in the highlands of Scotland, realistically, not much, and certainly not before iron implements made their way north in any useful quantities. Pre-Roman northern Scotland cultures consisted, in part, of hunter-gatherer, subsistence economies, much like the Inuit and Lapp cultures on which Kevin Macdonald modeled the Seal People. Regarding many of the images in the film (e.g., the golden mask in the water; the skulls in the water; the roundhouses in the Seal village), Macdonald's research is impeccable (see Francis Pryor's _Britain BC_ for more on this topic).

This is, paradoxically, the main reason I found the last 15 minutes of the film so incredibly out of place, even jarring. This is also why you will not find that ending in this story.

 ** _Note 4._** As noted above, the timeline in the film is problematic. For the purpose of this story, I've chosen to follow Sutcliff’s original timeline, which makes sense both historically and ethnographically. Theoretically, _The Eagle_ could have taken place at any time between 126 and 138 AD (although, according to the film, it was 140 AD, there was no Antonine Wall and Hadrian was still emperor). I've placed it closer to ca.130 AD. There were uprisings among the Brigantes too numerous to count during the 120s, and it is probable that some of those uprisings may have been caused by the confiscation of land and the building of Hadrian's Wall smack through the middle of the Brigantes’ lands. Thus, I have assigned Esca’s family tragedy to a time (ca.123) that reflects when the wall began to be constructed. Since the wall was constructed from east to west, it makes sense that Esca's clan, located generally speaking in the area around Eburacum [York] could have been affected by this. The bulk of Hadrian's Wall was finished by 126; judging by the map we see, Esca and Marcus go north to the wall along the eastern side of Britain, probably through Coria [Corbridge], the eastern checkpoint. At Coria, the wall would have been tall and well reinforced, as seen in the film.

And while I’m on the subject of timelines, as suspicious as both the Seal King and the Seal Prince were, there is no way that Esca would show up with a Roman in train and they’d be all, “Hey! Come join in our ceremonies and see where we keep our Eagle!” I think there’s space within the film to allow for a longer time period than the film implies between when Esca and Marcus arrive at the Seal village and when they steal the Eagle. It also bears mentioning that in the book – in which Marcus was disguised as a Greek eye doctor (apparently eye health was a big thing) – Marcus and Esca spent about six months with the Seal People before discovering the Eagle and making off with it.

 ** _Note 5._** Marcus and the Seal Prince are extremely similar in their personalities and personal ethics. They are two sides of the same coin. Both think that the other’s way of life is detrimental to their own society’s ultimate goals and both are ruthless in pursuit of defeating those who stand in the way. Both hold honour in extremely high regard (in fact, honour is pretty much Marcus’ only driving force in the film). Marcus kills the Seal King and takes his father's ring back. That was morally justifiable, but what’s the one thing that Marcus obsesses over as they flee for their lives to the wall? “What did he say about my father?” (Am I the only one who thinks that Esca very carefully coached Guern on what to say to Marcus about his father? Guern _completely_ , one hundred _percent_ , changes his story from the first time he told it to Marcus and Esca when he had no reason to lie, especially when the story he told put him in a pretty bad light. In fact, he was a deserter, according to anyone’s lights, but when Esca points that out, Marcus is all, IOKIYARoman, you silly savages just don't understand stuff like honour and deserting and so on. But anyway here Guern comes again, marching up the stream with his ragtag band of ex-deserters, and what’s the _first_ thing he says to Marcus? “Your dad was totes brave and cool and was the last man to hold the Eagle. Oh – oh, yeah, and he died fighting. Totally. Honest.”)

At any rate. When Esca hesitates over killing the rogue warrior boy (who is probably much the same age as Esca was when he was enslaved), Marcus kills the boy without a second thought and tells Esca not to hesitate “the next time.” Later, he urges Esca to kill Guern, which is incredibly short sighted of someone who’s supposedly a tactical master; and, last, as they’re leaving the Seal village, he draws his sword and is about to kill the Seal Boy so he won't raise the alarm.

When the Seal Prince tells Esca about the horrible things the Romans do to those they capture and enslave, he is echoing what Esca has lived through (and has already told Marcus), what Marcus’ uncle said, and what Guern also told Marcus. But Marcus doesn't listen to or believe anyone or anything except the glory of Rome. To reiterate: he kills the teenaged rogue warrior, almost kills Guern, and is about to kill the Seal Boy. Morally speaking, he is _exactly_ the same as, or worse than, the Seal Prince... up until the point at which the Seal Prince cuts the throat of his own son, which _immediately_ puts the Seal Prince beyond the pale _and_ makes the slaughter of both him and his tribe morally justifiable.

Do I have problems with this “both sides do it but only one is evil” reasoning? I think you can safely assume that I do.

 ** _Note 6._** Because the film used Irish-speaking actors and because I am better at Irish than Scottish Gaelic (which is not to say "good," mind you), I have used Irish. The name I have given the Seal Prince, Muirġa, means “sea spear” in Irish. It is pronounced, roughly, “Mur-hyuh” - the lenited ġ is a _gh_ sound, pronounced much the way a Flemish person pronounces the ‘g’ in “Brugge” or “Gent.” I do not speak Irish, and only dimly comprehend its complex grammatical system, so all linguistic and grammatical mistakes are mine.

 ** _Note 7._** Much of the spelling I’ve chosen to use is either Old Irish or adapted to reflect what is known of pre-Roman British alphabets and naming practices, e.g., using two n’s where modern Irish uses one. I apologise for the complexity of the words and terms used here, and tried to footnote where appropriate or useful, but part of this was an attempt to think about how Roman-era Britons – whether they were Brigantes or Tæsgali – would think about themselves, and the terms they would use to refer to these concepts instead of the sometimes culturally-laden words like “chief” or “tribe” or “village.” Notably, Esca does not use the word “tribe” but “people.” We hear the word “tribe” only from Marcus, and Guern, who is an ungrateful deserter, being that he was succoured by the very people he was trying to subjugate, who ought to know better and I hope in my version his Selgovae “woman” strangles him in his sleep one night.

 ** _Note 8._** I have no idea why the Seal Prince thought Esca was the _oldest_ son of Cunoval. Esca doesn’t introduce himself to the Seal Prince that way and never claims to be the “oldest,” and the only way it makes sense to me that Esca survived the slaughter of his family and his entire people was that he was too young and/or too small to be taken for a man at the time of the killing. Clearly he was captured, not killed, but both his brothers were killed, thus implying they were fighting (Esca does not describe their deaths at the hands of his father, for instance, nor why he was spared this death if his father was offing the entire family to prevent them from falling into Rome’s hands). Just as clearly, he had some tattoos on his right arm that were associated with his people. Additionally, he knew how to fight.

Esca had brothers, we know that much. For the purposes of the timeline and this particular logic chain, therefore, I’ve made Esca the youngest of three brothers and on the verge of his initiation into manhood, and I’m assuming that there would have been more tattoos to follow as he progressed through his initiation. Since he doesn’t claim to be the oldest son of Cunoval, there’s a somewhat canonical basis to maintain that Esca wasn’t the oldest, even though the Seal Prince seems to think he was.

 ** _Note 9._** Regarding the setting, I have aligned the Seal People with the Tæxali (Tæsgali), which could be construed as “smeared” or even “painted” people. Their territory ranged roughly from Aberdeen to the western end of the Moray Firth (Inverness). Although the film used the western coast of Scotland, I chose to place the Seal People on the water in that northern shore, which does have some western-sloping capes (e.g., Ardersier or Findhorn) that could fit. If you look at a map of Scotland, there is a rift that aligns roughly north east to south west along which Loch Ness and other lochs lie. This is a route Esca would know for heading either north or south and this is a route that could have been passed along orally given his father’s attested participation in the battle where the Eagle was won. From there, they could have headed southeast towards Glasgow, then to Lockerbie to Carlisle; there are Roman roads from Glasgow south, and Carlisle was a western fort on the wall.

 ** _Note 10. On woad: Regarding the historical record for the "painted people" and Esca's tattoos._** Among other hobbies, I am a fiber artist and have spent a couple of decades doing historical spinning, weaving, and dyeing demonstrations. I have some experience with natural dyes and the natural dyeing process, particularly indigo, which is always popular. Following are some observations about woad and other pigments.

Azurite and malachite occur naturally with copper, and there is a pre-Roman copper outcropping in southwestern Scotland (basically at the western end and slightly north of the wall). Azurite and malachite were used for centuries to provide green and blue pigments across many cultures, and were used well into the Renaissance to provide blue and green pigments for artists. Unfortunately both azurite and malachite are not light fast and after some years of exposure to the sun, this pigment turns grey in paintings (and in tattoos as well).

To dye fabric blue, young woad and indigo leaves are harvested and put into solution with urea (urine was saved and used for this purpose for over a thousand years; one reason that the woad and indigo industries were restricted to outside towns in the Middle Ages is because the stench was all-encompassing. The fabric is soaked in that solution and then spread to dry and oxidize on the grass. Both indigo and woad solutions are heavy bases that turn blue only when the compounds oxidize upon exposure to air. Woad and indigo solutions are almost colourless, at most yellow-greenish, and if used for tattoo ink would undoubtedly eat away the skin and scar it, not turn into blue markings.

A millennium later, ca. 1100 AD, woad (and, shortly thereafter, indigo) dyers had established an industry, and enough of a process, to concentrate young woad leaves to obtain actual blue pigment, but there isn't much point to doing so if the aim is simply to dye cloth blue. The work to concentrate and extract pigment was far more labour intensive than that which was required to make woad balls to transport and dye fabric with.

It is possible that in Esca's time woad leaves could have been used as a weak antiseptic or prophylactic antiseptic prior to battle, or as poultices on wounds after battle, but at most this would have turned the skin a very light blue and probably was almost invisible. It is much more likely that the “paint” the Romans wrote about consisted either of tattooed markings (using ground minerals or wood ash mixed with animal grease or oil and tattooed how you do with bone or bronze needles) or a grey/blue clay mixture (e.g., the glacial clay deposits found north of the Moray Firth) that protected the skin and may have had a ritual component.

However, the principal point is that no one would use woad (or indigo, its relative) to tattoo in any case. If minerals were known (which they were) and available (which they also were), they would have been used. In fact, it is much easier to grind minerals - relatively easy to obtain and certainly available) to use for pigments than to go through the extremely long and laborious process required to extract blue pigment from woad, a technological process which the historical record does not support until almost a millennium later.

Don’t get me started on how the word that is taken to mean “woad” in Caesar’s writing is used everywhere else in Latin to mean something completely different. In short, the woad thing is a 2000-year old mistranslation or willful misunderstanding and has no basis in historical fact. Mel Gibson notwithstanding, there were no bright blue warriors attacking the Romans.


	2. Kinship Diagram

 

# Kinship Diagram


	3. Bibliography

**Summary for the Chapter:**

> A partial bibliography; sources will be added as I remember them and as research continues.

# Bibliography

## Clothing

The costumes used for the Seal People seem to have been based on what we know of Ötzi the Iceman's clothing. Some websites that go into more detail are the South Tyrol Museum of Archaeology (<http://www.iceman.it/en/clothing/>) and the Live Science page on Ötzi the Iceman's Stone Age Wardrobe Revealed (<https://www.livescience.com/55804-otzi-clothing-species-identified.html>). I had the opportunity once while in Los Angeles to see the costumes on display, as written up by another fan in her blog (<http://domesticjenni.blogspot.com/2011/02/jamie-bell-and-channing-tatum-costumes.html>) and if I ever find my own photos, I'll post them, but for purposes of comparison, this is a great start.

## References

 _Fócloir Póca_. Baile Átha Cliath: An Gúm, 2014.

 _Roman Britain Map_ (3rd ed.). United Kingdom: Ordnance Survey, 1956.

“Lageniensis.” _Irish Folk Lore: Traditions and Superstitions of the Country, with Humourous Tales_. Glasgow: Cameron & Ferguson, 1870.

Emma Ailes. Scotland and the indoor toilet. Online: BBC Scotland, 2013. URL: <https://www.bbc.com/news/uk-scotland-22214728>.

Lindsay Allason-Jones. _Daily Life in Roman Britain_. Oxford: Greenwood World Publishing, 2008. [DA 145 .A448 2008]

David Braund. _Ruling Roman Britain: Kings, Queens, Governors, and Emperors from Julius Caesar to Agricola_. London: Routledge, 1996. [DA 145 B835 1996]

  * [168] [Calgacus] Alone of all men they lust after wealth and want with equal passion. To pillage, butchery, and extortion they give the false name of 'empire' and where they make a desert they call it 'peace.' (Tac. Agr. 30)
  * Cogidubnus [108-112]; Cunobelinus [112] and sons Togodumnus, Caratacus, and Adminius. Caratacus (attr.): And Caratacus, a barbarian leader, having been captured and brought to Rome, and after receiving a pardon from Claudius, went about the city upon his release. When he saw the splendour and great size of it, he said, 'So, when you have this and the like, do you covet our little tents?' (Dio 60.33.3c)
  * [125] He [Claudius] ordered the Britons,  
beyond the shores of the known sea,  
and the Brigantes, blue with their shields,  
to give their necks to Roman chains  
and Ocean himself to tremble at  
the new laws of the Roman axe. (Sen. Apoc. 12.13-18)



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Colmán Etchingham and Catherine Swift. "English and Pictish Terms for Brooch in an 8th-century Irish Law-Text." _Mediaeval Archaeology Bulletin_ [n.d.], 31-49.

Nicholas Evans. "The Calculation of Columba’s Arrival in Britain in Bede’s Ecclesiastical History and the Pictish King-lists." _Scottish Historical Review_ , Vol. LXXXVII, 2, No. 224 (October 2008), 183–205. DOI: 10.3366/E0036924108000127

Katherine Forsyth. _Language in Pictland: the case against ‘non-Indo-European Pictish'_. Utrecht: de Keltische Draak (Studia Hameliana 2), 1997.

Tenney Frank. _Roman Imperialism_. Kitchener: Batoche Books, 2003.

Gayle Gibson, Meg Morden, and Willie Rowbotham. “Skara Brae: A Neolithic Village.” Online: Odyssey: Adventures in Archaeology, 2017. URL: <http://www.odysseyadventures.ca/articles/skarabrae/skarabrae_article.htm>.

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Augusta Gregory. _Visions and Beliefs in the West of Ireland_. New York: Putnam, 1920. [collected and arr. by Gregory ; With two essays and notes by W.B. Yeats]

Augusta Gregory and William Butler Yeats. _Irish Myths and Legends_. Philadelphia: Running Press Books, 1999.

A. G. James & Simon Taylor [comp.], A. Watson, and E. J. Basden. _Index of Celtic and other elements in W. J. Watson’s The history of the Celtic place-names of Scotland: incorporating the work of A. Watson and the late E. J. Basden._ Online: Scottish Place-Name Society, <http://www.spns.org.uk/WatsIndex2.html>.

Edward James. _Britain in the First Millennium_. London: Arnold/Hodder, 2001. [DA 135 .J36 2001]

  * [34] Mæatae - effective guerilla warfare



Michael Labbe-Webb. _Working with Horn and Skeletal Materials_. Online: Self published. URL: <http://www.florilegium.org>.

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Osborne Martin. “Understanding Caesar's Ethnography: A Contextual Approach to Protohistory.” _Journal of the National Collegiate Honor Council_ , Spring/Summer 2002, 39-58.

John Merritt and Graham Leslie. _Northeast Scotland: A Landscape Fashioned by Geology_. Perth, Scotland: Scottish Natural Heritage, 2009.

Edward B. Nicholson. _The Vernacular Inscriptions of the Ancient Kingdom of Alban_. London: Bernard Quartch, 1896.

Eugene O'Curry and William Kirby Sullivan. _On the Manners and Customs of the Ancient Irish_. London: Williams & Norgate, 1873.

Niall Ó Dónaill. _Foclóir Gaeilge-Béarla_ (1977). Online: Teanglann.ie, 2013. URL: <http://www.teanglann.ie/en/fgb/>.

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Muiris O’Sullivan and Liam Downey. 2016. “Salt-Making and Food Preservation.” _Archaeology Ireland_ 30 (4): 21–25. 

Josiah Osgood. "Pen and Sword: Writing and Conquest in Caesar's Gaul." _Classical Antiquity_ , Vol. 28, No. 2 (2009), 328–358.

Adolphe Pictet. “Comparison of Irish and Gaulish Personal Names.” _Ulster Journal of Archaeology_ , First Series, Vol. 7 (1859), 73-74.

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Gayatri Chakravorty Spivak. "Can the Subaltern Speak?" in Cary Nelson and Laurence Grossman (eds.) _Marxism and the Interpretation of Culture_. London: Macmillan, 1988. Retrieved from <http://planetarities.web.unc.edu/files/2015/01/spivak-subaltern-speak.pdf>.

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Sigurd Towrie. Orkneyjar: the history of the Orkney Islands. Online: Self published, 2004. URL: <http://www.orkneyjar.com/history/index.html>.

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End file.
